Gustaf Broms 2017

Photo: Jesper Haynes

In 1966 this human body was born, it was given the name Gustaf Broms. This concept now exists in a place called Sweden. To use the time in this predicament as a way to explore the nature of consciousness.

Using this body, moving through time and space, as a tool for exploring an idea of language. Trying to make a translation of the flow of life, into a condensed symbol, as a way for understanding and for communication.

Spending the last few years looking into the dualistic concept of “I”, in terms of association with the idea of BEING NATURE, as the actual biological reality this body goes through, and BEING MIND, as a very direct intellectual experience of “REALITY”.

Since 2009 I live in the forest of Vendel and work on a series of “aktions – movements” that looks at ideas of identification with “border of skin” and “identification with species”, and always to question the anthropocentric perspective.

“am I a immaterial BEING having a physical experience, or am I a physical BEING having an immaterial experience?“

ENGLISHGustaf Broms was born in Sweden in 1966. He currently lives and works in the Vendel forest. Gustaf’s practice is engaged with the exploration of the nature of consciousness, the dualistic concept of “I”, as the biological reality of being in the BODY, and being MIND, as the perceived experience of the flow of phenomena. In his practice, he started off working with photography and installation, but two works in particular led him to work with the more formless processes of performance.

Photo Paul Knispel

In 1991, Broms burned all of his work, and in doing so realized that the intensity of the action and the remaining ash far outdid anything he had previously made. In 2005, he completed a series of works entitled “5 Faiths for a Brave New World” in which he worked with objects that were physically too heavy for the body to move. These two experiences created a longing to explore the formless and led up to the project entitled “A Walking Piece” made with Trish Littler, in which the two artists spent 18 months walking across Eastern Europe. The result is considered a drawing.

Currently, Broms’ continues to work with a series of movements that look at concepts of inner/outer and movement/stillness, working with his own body as the tool for examining these processes. The constant question is, “why are the dancing atoms of this body not merging wit the dancing atoms surrounding it?”